{"id":41841,"date":"2014-04-25T06:39:03","date_gmt":"2014-04-25T06:39:03","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=41841"},"modified":"2022-06-28T19:21:25","modified_gmt":"2022-06-28T17:21:25","slug":"la-piedra-y-la-luz-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-piedra-y-la-luz-marcelo-gardinetti\/","title":{"rendered":"[:es]La piedra y la luz | Marcelo Gardinetti[:gl]A pedra e a luz | Marcelo Gardinetti[:en]The stone and the light | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure><\/p>\n

En tiempos remotos, el hombre primitivo descubri\u00f3 en la caverna un lugar donde encontrar cobijo ante la lluvia y el frio. Esta revelaci\u00f3n, que le permiti\u00f3 soportar las inclemencias del clima en un espacio de relativa comodidad, es rotulada por Umberto Eco como el nacimiento de la arquitectura1<\/sup><\/sup><\/em>.<\/p>\n

Miles de a\u00f1os despu\u00e9s, la imagen pr\u00edstina narrada por Eco puede aplicarse como un signo de profusa analog\u00eda para graficar las caracter\u00edsticas esenciales del espacio interior de la Capilla de Ronchamp, la m\u00e1xima po\u00e9tica de Le Corbusier.<\/p>\n

Ronchamp es un ejercicio erudito que se desprende de cualquier antecedente tipol\u00f3gico para buscar los umbrales de la arquitectura. Sus muros tridimensionales trazan un paralelo con la caverna2<\/sup><\/sup><\/em>, establecida como formas de la naturaleza modeladas por el hombre en la cima de una colina.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Las tensiones y ambig\u00fcedades de su geometr\u00eda construyen su figura como un continuo de concavidades y convexidades que permiten resguardar un espacio de ensue\u00f1o. Los muros configuran entidades aut\u00f3nomas que se asocian para encerrar el espacio con el perfil poco ortodoxo de la cubierta, definida de manera inversa a la curvatura del terreno y al natural escurrimiento del agua.<\/p>\n

La puerta principal pivotando sobre el eje del vano, anticipa el evento haciendo que el acceso a la capilla no resulte un hecho intrascendente.<\/p>\n

En el lado sur, el muro es portador de un espesor dramatizado. Su superficie calada irregularmente permite conducir en distintas direcciones los haces de luz<\/a> natural que viajan impregnados del color de los vitrales, salpicando el espacio en un espect\u00e1culo agraciado y cambiante con el transcurrir del d\u00eda.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Acentuando estas tensiones, la cubierta se retira de los muros para permitir el ingreso de la luz solar, que a su paso envuelve la curvatura de cemento consumando una maniobra de premeditada seducci\u00f3n.<\/p>\n

La ausencia de aristas establece una continuidad indefinida de los muros, siempre subyugados por haces de luz provenientes de diferentes direcciones que impiden la definici\u00f3n precisa de los l\u00edmites. En este suceso, la rugosidad del muro construye la complicidad necesaria para conmover con las diferentes intensidades de sombras.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Le Corbusier amalgama la piedra y la luz de manera candorosa, con tanto \u00edmpetu que resulta imposible concebir un elemento sin el otro. El dise\u00f1o conjuga el ideal art\u00edstico de fusionar la arquitectura, la pintura y la escultura como pocas veces se alcanz\u00f3 en otras obras del movimiento moderno.<\/p>\n

El interior de Ronchamp compone un relato genuino y homog\u00e9neo. El car\u00e1cter invariable de un edificio atrapado por el sortilegio de la luz como resultado de un ejercicio de arquitectura puesto al servicio de la poes\u00eda, o de la poes\u00eda puesta al servicio de la arquitectura.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti.\u00a0 Arquitecto
\nLa Plata. Abril 2014<\/p>\n

Nota:<\/p>\n

1<\/sup><\/sup><\/em> \u201cObligado por el frio y la lluvia, siguiendo el ejemplo de los animales u obedeciendo a un impulso en el que se mezclan confusamente el instinto y la raz\u00f3n, nuestro hombre se refugia en un repliegue, en un hoyo al pie de una monta\u00f1a, en una caverna. Protegido del viento y del agua, a la luz del d\u00eda o bajo el resplandor del fuego (suponiendo que ya lo ha descubierto) nuestro hombre observa la caverna que lo cobija\u201d Umberto Eco, la estructura ausente, \u00a9debolsillo 2013 p\u00e1g. 325<\/em><\/p>\n

2<\/sup><\/sup><\/em> Otra alusi\u00f3n al discurso de Umberto Eco se refleja en las palabras de William Curtis: \u201cla transici\u00f3n al interior de Ronchamp es espectacular. Se entra en una cueva de otro mundo, en una catacumba\u201d. William J.R. Curtis, Le Corbusier ideas y formas, \u00a9 Phaidon 1986 p\u00e1g. 177<\/em><\/p>\n

[:en]

\"\"<\/a>
Ronchamp’s chapel\u00a0| Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure><\/p>\n

In remote times, the early man discovered in the cavern a place where to find cover before the rain and the cold. This revelation, which allowed him to support the inclemencies of the climate in a space of relative comfort, is labelled by Umberto Eco as the birth of the architecture1<\/sup><\/sup><\/em>.<\/p>\n

Thousands of years later, the pristine image narrated by Echo can apply to him as a sign of profuse analogy for graficar the essential characteristics of the interior space of Ronchamp’s Chapel, the poetical maxim of Le Corbusier.<\/p>\n

Ronchamp is an erudite exercise that parts with any precedent tipol\u00f3gico to look for the thresholds of the architecture. His three-dimensional walls plan the parallel one with the cavern2<\/sup><\/sup><\/em>, established as forms of the nature shaped by the man in the top of a hill.<\/p>\n

\"\"<\/a>
Ronchamp’s chapel\u00a0| Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

The tensions and ambiguities of his geometry construct his figure as the continuous one of concavities and convexities that allow to protect a space of dream. The walls form autonomous entities that associate to enclose the space with the slightly orthodox profile of the cover, defined of an inverse way to the curvature of the area and to the natural runoff of the water.<\/p>\n

The principal door pivotando on the axis of the vain one, anticipates the event doing that the access to the chapel does not turn out to be a not transcendental fact.<\/p>\n

In the south side, the wall is a carrier of a dramatized thickness. His surface penetrated irregularly allows to lead in different directions the faeces of natural light that travel impregnated from the color of the vitrales, splashing the space in an attractive and changeable spectacle with to pass of the day.<\/p>\n

\"\"<\/a>
Ronchamp’s chapel\u00a0| Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Accentuating these tensions, the cover moves back from the walls to allow the revenue of the solar light, which to his step wraps the cement curvature consumando a maneuver of premeditated seduction.<\/p>\n

The absence of edges establishes an indefinite continuity of the walls, always subdued by faeces of light from different directions that prevent the precise definition of the limits. In this event, the ruggedness of the wall constructs the necessary complicity to affect with the different intensities of shades.<\/p>\n

\"\"<\/a>
Ronchamp’s chapel\u00a0| Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Le Corbusier amalgamates the stone and the light of an innocent way, with so much impetus that turns out to be impossible to conceive an element without other one. The design brings together the ideal artistic one of fusing the architecture, the painting and the sculpture since rarely it was reached in other works of the modern movement.<\/p>\n

Ronchamp’s interior composes a genuine and homogeneous statement. The invariable character of a building caught by the sorcery of the light as result of an exercise of architecture put to the service of the poetry, or of the poetry put to the service of the architecture.<\/p>\n

\"\"<\/a>
Ronchamp’s chapel\u00a0| Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Architect
\nLa Plata. April 2014<\/p>\n

Note:<\/p>\n

1<\/sup><\/sup><\/em> \u201cForced by the cold and the rain, following the example of the animals or obeying an impulse in which the instinct and the reason are mixed confused, our man shelters in a doubling, in a hole at the foot of a mountain, in a cavern. Protected from the wind and from the water, in the light of the day or under the radiance of the fire (supposing that already it has discovered it) our man observes the cavern that he it shelters\u201d Umberto Eco, la estructura ausente, \u00a9debolsillo 2013 pag. 325<\/em><\/p>\n

2<\/sup><\/sup><\/em> Another allusion to Umberto Eco’s speech is reflected in William Curtis’s words: \u201cT<\/em>he transition to Ronchamp’s interior is spectacular. One enters a cave of another world, a catacomb\u201d<\/em>. William J.R. Curtis, Le Corbusier ideas y formas, \u00a9 Phaidon 1986 pag. 177<\/em><\/p>\n

[:gl]

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure><\/p>\n

En tempos remotos, o home primitivo descubriu na caverna un lugar onde encontrar acubillo ante a chuvia e o frio. Esta revelaci\u00f3n, que lle permitiu soportar as inclemencias do clima nun espazo de relativa comodidade, \u00e9 rotulada por Umberto Eco como o nacemento da arquitectura1<\/sup><\/sup><\/em>.<\/p>\n

Miles de anos despois, a imaxe pr\u00edstina narrada por Eco pode aplicarse como un signo de profusa analox\u00eda para graficar as caracter\u00edsticas esenciais do espazo interior da Capela de Ronchamp, a m\u00e1xima po\u00e9tica de Le Corbusier.<\/p>\n

Ronchamp \u00e9 un exercicio erudito que se desprende de calquera antecedente tipol\u00f3xico para buscar os albores da arquitectura. Os seus muros tridimensionais trazan un paralelo coa\u00a0caverna2<\/sup><\/sup><\/em>, establecida como formas da natureza modeladas polo home no cume dun outeiro.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

As tensi\u00f3ns e ambig\u00fcidades da s\u00faa xeometr\u00eda constr\u00faen a s\u00faa figura como un continuo de concavidades e convexidades que permite resgardar un espazo marabilloso. Os muros configuran entidades aut\u00f3nomas que se asocian para encerrar o espazo co perfil pouco ortodoxo da cuberta, definida de xeito inverso \u00e1 curvatura do terreo e ao natural escorremento da auga.<\/p>\n

A porta principal pivotando sobre o eixe do van, anticipa o evento facendo que o acceso \u00e1 capela non resulte un feito intranscendente.<\/p>\n

No lado sur, o muro \u00e9 portador dun espesor dramatizado. A s\u00faa superficie calada irregularmente permite conducir en distintas direcci\u00f3ns os feixes de luz natural que viaxan impregnados da cor dos vitrais, salpicando o espazo nun espect\u00e1culo agraciado e cambiante co transcorrer do d\u00eda.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Acentuando estas tensi\u00f3ns, a cuberta ret\u00edrase dos muros para permitir o ingreso da luz solar, que ao seu paso envolve a curvatura de cemento consumando unha manobra de premeditada seduci\u00f3n.<\/p>\n

A ausencia de arestas establece unha continuidade indefinida dos muros, sempre subxugados por feixes de luz provenientes de diferentes direcci\u00f3ns que impiden a definici\u00f3n precisa dos l\u00edmites. Neste suceso, a rugosidade do muro constr\u00fae a complicidade necesaria para conmover coas diferentes intensidades de sombras.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Le Corbusier am\u00e1lgama a pedra e a luz de xeito candorosa, con tanto \u00edmpeto que resulta imposible concibir un elemento sen o outro. O dese\u00f1o conxuga o ideal art\u00edstico de fusionar a arquitectura, a pintura e a escultura como poucas veces se alcanzou noutras obras do movemento moderno.<\/p>\n

O interior de Ronchamp comp\u00f3n un relato xenu\u00edno e homox\u00e9neo. O car\u00e1cter invariable dun edificio atrapado polo sortilexio da luz como resultado dun exercicio de arquitectura posto ao servizo da poes\u00eda, ou da poes\u00eda posta ao servizo da arquitectura.<\/p>\n

\"\"<\/a>
Capilla de Ronchamp | Paul Koslowski \u00a9ADAGP<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Abril 2014<\/p>\n

Nota:<\/p>\n

1<\/sup><\/sup><\/em> \u201cObrigado polo frio e a chuvia, seguindo o exemplo dos animais ou obedecendo a un impulso no que se mesturan confusamente o instinto e a raz\u00f3n, o noso home ref\u00faxiase nun repregamento, nun burato ao p\u00e9 dunha monta\u00f1a, nunha caverna. Protexido do vento e da auga, \u00e1 luz do d\u00eda ou baixo o resplandor do lume (supo\u00f1endo que xa o descubriu) noso home observa a caverna que o abeira\u201d Umberto Eco, A estructura ausente, \u00a9debolsillo 2013 p\u00e1g. 325<\/em><\/p>\n

2<\/sup><\/sup><\/em> Otra alusi\u00f3n ao discurso de Umberto Eco refl\u00edctese nas palabras de William Curtis: \u201c<\/em>a transici\u00f3n ao interior de Ronchamp \u00e9 espectacular. \u00c9ntrase nunha cova doutro mundo, nunha catacumba\u201d. William J.R. Curtis, Le Corbusier ideas y formas, \u00a9 Phaidon 1986 p\u00e1g. 177<\/em><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] En tiempos remotos, el hombre primitivo descubri\u00f3 en la caverna un lugar donde encontrar cobijo ante la lluvia y el frio. Esta revelaci\u00f3n, que le permiti\u00f3 soportar las inclemencias del clima en un espacio de relativa comodidad, es rotulada por Umberto Eco como el nacimiento de la arquitectura1. Miles de a\u00f1os despu\u00e9s, la imagen […]<\/p>\n","protected":false},"author":4,"featured_media":41844,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[7089,6949,785,815,4985,7058,1985,2066,5562,3016,2341],"class_list":["post-41841","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-francesa","tag-arquitectura-suiza","tag-le-corbusier","tag-maestro","tag-marcelo-gardinetti","tag-materialidad","tag-pensar","tag-proyectar","tag-ronchamp","tag-umberto-eco","tag-william-j-r-curtis"],"yoast_head":"\nLa piedra y la luz | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"La piedra y la luz\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/la-piedra-y-la-luz-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La piedra y la luz | Marcelo Gardinetti\" \/>\n<meta property=\"og:description\" content=\"La piedra y la luz\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/la-piedra-y-la-luz-marcelo-gardinetti\/\" \/>\n<meta property=\"og:site_name\" content=\"veredes, arquitectura y divulgaci\u00f3n\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/marcegardinetti\" \/>\n<meta property=\"article:published_time\" content=\"2014-04-25T06:39:03+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-06-28T17:21:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/04\/LA-PIEDRA-Y-LA-LUZ-3-\u00a9Paul-Koslowski-ADAGP.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"620\" \/>\n\t<meta property=\"og:image:height\" content=\"406\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Marcelo Gardinetti\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/twitter.com\/marcegardinetti\" \/>\n<meta name=\"twitter:site\" content=\"@veredes\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Marcelo Gardinetti\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-piedra-y-la-luz-marcelo-gardinetti\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-piedra-y-la-luz-marcelo-gardinetti\\\/\"},\"author\":{\"name\":\"Marcelo Gardinetti\",\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#\\\/schema\\\/person\\\/e03af9138634cd6876b9935dc1536c82\"},\"headline\":\"[:es]La piedra y la luz | Marcelo Gardinetti[:gl]A pedra e a luz | Marcelo Gardinetti[:en]The stone and the light | Marcelo Gardinetti[:]\",\"datePublished\":\"2014-04-25T06:39:03+00:00\",\"dateModified\":\"2022-06-28T17:21:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-piedra-y-la-luz-marcelo-gardinetti\\\/\"},\"wordCount\":1995,\"commentCount\":3,\"publisher\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/veredes.es\\\/blog\\\/la-piedra-y-la-luz-marcelo-gardinetti\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/veredes.es\\\/blog\\\/wp-content\\\/uploads\\\/2014\\\/04\\\/LA-PIEDRA-Y-LA-LUZ-3-\u00a9Paul-Koslowski-ADAGP.jpg\",\"keywords\":[\"arquitectura francesa\",\"arquitectura suiza\",\"Le Corbusier\",\"maestro\",\"Marcelo Gardinetti\",\"materialidad\",\"pensar\",\"proyectar\",\"Ronchamp\",\"Umberto Eco\",\"William J.R. 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